Tag: painting

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Fleeting memories

Our memory function is challenged once we travel. There are so many new impressions that ask for prime time in memory, but our capacities to safely store every detail of it is rather limited. On his voluntary travels, less when going into exile, Victor Hugo drew places with astonishing architectural detail and made literary descriptions on the back of the copy. The ruins of a gothic church in Bacharach (Germany) on the banks of the Rhine are a great example of his attempts to beat the fleeting memory. The ink and graphite pencil drawing date back to 1840. The imagery of the abandoned church, itself rich in memories of conflict by way of drawing details inscribes deeply into his own memory. A description in words on the back of this piece reinforces this effect beyond the mental exercise of precision versus dramatic blurriness. Repeating this exercise months later would reveal our fleeting memories when traveling. A great technique which is still valuable 186 years later. 

Church ruins at Bacharach by Victor Hugo 1840 exhibt at Maison de Victor Hugo Paris

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Hugo voyage

Victor Hugo traveled for inspiration to neighboring countries. He has been attracted to o mysterious places and its people. In his booklets of such inspirational journeys he drew images of several architecturally interesting places. “Burg” meaning castle was a recurrent subject trying to capture the mysteries about such medieval places and their surroundings. The rivers “Rhein”,”Nahe” and “Mosel” in Germany were a great source of inspiration for him. The images drawn of “Burg Eltz” as well as others (Andernach from 1840, image below left) testify to this. The Home of Victor Hugo in Paris, Place des Vosges features in 2026-8 his drawings which seem to have served him as studies in architecture and sometimes as idea of maybe a scenery for his theatre pieces. Of course, his drawings of cathedrals similar to “Notre Dame” in Paris are also among those ink sketches. To get scared a bit, traveling might suffice and then write it down and sketch it. Franco-German influences can be found in many European artists of the 19th century as well as today.  

Victor Hugo home in Paris exhibition on his drawings of architecture 2026-8

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Painter influencer

In modern terminology we could say Edgar Degas has been an influencer for many other painters, gallerists, art collectors and our way to look and interpret paintings or drawings. Max Liebermann wrote an appreciation of the work of Degas for a German audience in an attempt to bridge the gaps in the understanding of modern art between France and Germany towards the end of the 19th century. Cassirer as editors facilitated the publication and jointly they achieved to build a remarkable collection of impressionism before the atrocities of war took over in the first half of the 20th century. Fates can change quickly and painter influencer may become discredited due to more forceful political influences. (Image: Booklet by Max Liebermann 1898 on Degas in Cassirer exhibition in Berlin) 

Max Liebermann on Edgar Degas published by Cassirer

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Park Impressions

Parks and gardens have been among the preferred items of impressionist painters. In Berlin it is possible to visit the Villa of Max Liebermann and the splendid garden next to the Wannsee. The 3 years Liebermann spent in Paris as well as his friendship with Cezanne “converted the young painter to impressionist’s painting style. The subjects of his paintings became similar as well. Splendid gardens and people working or going about their daily routine inspired him. The visits to the Netherlands (image below) inspired him to paint the joyful and relaxed atmosphere during summer. Sunlight and shadow outside an atelier became the fascinating moment he captured so well. Enjoy the summer and take a break. (Image: extract from Max Liebermann: Park in Laren).

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Ensor Home

There are few artists who stayed in their home for almost all their life. James Ensor was a personality who was profoundly attached and continually attracted to his native city of Ostend. After a short and unsuccessful spell at the Brussels art academy, he returned to his parents’ home and due to a heritage from an uncle, he could live in a nearby house, which also served him as his atelier. Although I did not come across documents that showed he had traveled a lot, nowadays his art work is spread across the globe. The seaside resort of Ostend was a real tourist destination and, therefore, many famous people of the 1st half of the century passed by and met with Ensor there. Not only fellow artists, but also scientists like Albert Einstein. Critical minds and people searching beyond the trodden paths must have been attracted to him, a personality who dared to challenge conventional painting and techniques of his time. A reconstruction of his atelier and several animations give a lively modern touch to his work and living style. My take home message from the Ensor Home: The search for inspiration might be just around the corner. 

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Portrait of or about

In some galleries or for curators of an exhibition, the crucial question is not only the overall message, but the best positioning of artworks in the available space. In many national galleries what hangs next to another piece is rarely seen as an opportunity for exploration and experimentation. A recent visit to the “Gemäldegalerie“ in Berlin allowed to explore the vicinity of 2 paintings, which are very different in appearance. The one (by Pierre Subleyras 1740) is just entitled “Portrait of a woman”, the other one next to it, “Virgin and Child Enthroned, with Angels and Two Saints, Domenico Mondo 1773). The former portrait has almost a modern touch to it as the beauty consists in the simplicity of the person depicted, whereas the latter painting portrays a rather empty message of splendor and power. The conscious confrontation of portraits or paintings with each other is the high art of curatorship. It is even more pointed than a guided tour of a gallery as the simultaneous rather than the sequential confrontation is the issue. 

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Silence revisited

In most cultures, particularly western ones, we are less and less used to silence. Keeping silent for 1 hour is almost framed as an exercise of meditation. In the presence of other persons silence is often misinterpreted as not being interested or even intelligent enough to contribute to the conversation or discussion. Therefore, the title of the exhibition “Seeing silence”, which rediscovers and honors the paintings of Helen Schjerfbeck. Her Finish, Swedish speaking roots, with a broad European training in the arts, made her an accomplished painter in the impressionist’s tradition with a focus on painting portraits. The catalog from the exhibition (THE MET 2025) gives a great overview of her paintings when silence of her models tell stories. Portraits of women are particularly powerful examples of tranquility, and reading, but also uneasy silence in rocking chairs. The biographical sketch of Helen Schjerfbeck by Dita Amory sums up the vocation as “All I desire to do is paint” (p. 15). Towards the end of the 19th century and the 1st half of the 20th century this meant work in silence and she chose to work on silence as well.  (Image: catalog in library Brussels 2026-2) 

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Projection Painting

Nature teaches us lots of tricks. Bionics are all around us in the 21st century, but the marvelous projection of a winter tree on a huge screen comes close to a naturalistic painting. The projection of the branches and leaves of a tree originates from the early sunset in December 2025 in Berlin. Nature teaches beauty and the techniques to imitate or reproduce the effects. Its up to us to keep our eyes, senses and minds open to enjoy the beauty in our surroundings. 

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500 years Motherhood

The history of art is full of depictions of motherhood. The catholic church has largely contributed to this phenomenon. Sandro Boticelli created in 1478 his painting of Maria and the child surrounded by singing angels. As Maria is said to know about the tragic fate of her child, her facial expression is rather sad or apprehensive than full of joy. The public acclaim has lasted already for more than 500 years. The women and people who sympathize with this depiction seem to share some of the worries about the future of both mother and child. Apparently, this has not changed over the course of the centuries. In the 21st century such concerns still have a co-determination effect on women to lead to lower fertility rates in most parts of the world. Fertility depictions in art history might serve as early indicator of behavioral changes. Some take centuries to play out. Technological,  medical devices or social policies can amplify such seminal trends. (Image: Sandro Boticelli and disciples , 1478, Gemäldegalerie Berlin)

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Raffael Madonna

„Mary and the child“ has been the success painting of Raffael around the years of 1500. 3 variants on this topic are presented at the Gemäldegalerie Berlin. Each pose varies only slightly, but each tells a very different story. The Madonna changes the regard from beyond the child, on the child, then to another child. An interesting sequence as such, which puts the relationship with the child also in perspective. The child develops over the sequence from the fast learner into the person with „power grip“ to the one that is spreading benevolence. The different stages of the life course are somehow taking place within a short period of the child. (Image: Raffael, Mary with Child, Gemäldegalerie Berlin)